The American Folk Blues Festival 1962 - 1966; Vol 2; Vol 3 - The festival was an annual event with dozens of classic blues greats like Sonny Boy Williamson, Muddy Waters & Howlin' Wolf playing to appreciative UK audiences. "Attendees at Manchester in 1962, the first ever venue for the festival in Britain, included Mick Jagger, Keith Richards, Brian Jones and Jimmy Page. Subsequent attendees at the first London festivals are believed to have also included such influential musicians as Eric Burdon, Eric Clapton, and Steve Winwood. Collectively these were the primary movers in the blues explosion that would lead to the British Invasion." [more inside]
posted by madamjujujive
on Feb 23, 2014 -
19 comments

“I’d say that my great days, they’re all done,” she said. “I figured out after the last record I did that I’m what is known as now, a legacy artist, which means basically, you’re on your own. . . . It’s been a long road, and it’s been a great road — I’ve been very lucky so much over my life. But at this stage I feel like I’m only going backwards.”

You might have heard at one time or another a 60s band called Canned Heat, who made a wee bit of a splash way back when with a little number called Going Up the Country. The song featured a simple but very catchy little flute riff between verses. If you ever wondered where that riff came from (not to mention the melodic contour of the tune itself) you need look no further than a 1928 recording by Henry Thomas, who played the flute melody on his quills, or, panpipes. The song was called Bull Doze Blues. [more inside]
posted by flapjax at midnite
on May 24, 2013 -
37 comments

Within that small and very specific sub-genre of musical Americana identifiable as the train imitation, there is one amazing performance, from 1926, that set the standard: Pan-American Blues. The man who recorded it did a fine and fanciful job of evoking the sounds of a fox chase as well, and his rhythmically compelling solo rendition of John Henry stands as testament to the potential for musical greatness achievable by one man and a humble harmonica. He was an African-American who was a founding member of the Grand Ole Opry, a musical institution that we rarely (as in, never) today associate with black people, and his touching and tragic story, documented here, is one that will be of interest to those concerned with the racial, economic and socio-cultural history of American popular music. He stands at one of its more unexpected intersections: his name is DeFord Bailey. [more inside]
posted by flapjax at midnite
on Dec 30, 2010 -
15 comments

Born in Big Sandy, Texas in 1874, Henry Thomas was one of the oldest black musician who ever recorded for the phonograph companies of the 1920′s and his music represents a rare opportunity to hear what American black folk music must have sounded like in the last decade of the 19th century. [more inside]
posted by flapjax at midnite
on May 11, 2010 -
21 comments

BobbyCharles1938-2010. Songwriter, musician's musician and cultural treasure, he died on last Thursday in Abbeville,Lousiana. In the 1950s, he wrote Fats Domino's Walking to New Orleans, Bill Haley and the Comet's See You Later, Alligator and recorded for Chess records. His eponymous Bearsville album recorded in Woodstock in 1972 has been described as the best Band album released under another name.(Check out Small Town Talk there.) He appeared as well in the Band's farewell concert filmed as The Last Waltz. He made an enormous contribution to American popular music. [more inside]
posted by y2karl
on Jan 19, 2010 -
25 comments

Mike Seeger, folk musician and folklorist, passed away on August 7, 2009. Half-brother to Pete Seeger, Mike Seeger was self-taught at banjo, fiddle, guitar, autoharp, and dulcimer, among other instruments. Additionally, Seeger spent decades traveling the country to collect and document American folk musicians, many of whom would have been forgotten were it not for his efforts. In the late 50's, Seeger, Tom Paley, and John Cohen founded the old-time string band The New Lost City Ramblers. The Ramblers countered the rising tide of bluegrass music with a return to old-time traditionals and were a significant influence on the mid-century folk revival. Seeger's death coincides with the upcoming release of an Arhoolie Foundationdocumentary about the Ramblers (warning: the documentary link contains an embedded video). On Youtube: 1, 2, 3, 4, 5. [more inside]
posted by signalandnoise
on Aug 11, 2009 -
20 comments

Desperate Man Blues Edward Gillen's documentary about Joe Bussard, renowned collector of 25,000+ blues, folk and gospel 78rpm records from the 20s and 30s. It's about the hunt and the hunter, as much as what he found. One week only on Pitchfork TV [more inside]
posted by msalt
on Jan 31, 2009 -
15 comments

And here we have a couple of YouTube productions, screensaverish animations of photos and lyrics to the original recordings: Robert Petway - Catfish Blues and Tommy McClennan - It's Hard To Be Lonesome. This is mostly about Petway and Catfish Blues but you can't mention Petway without mentioning McClennan, as they ran together in their time and as both did versions of Catfish, a song canonical in Delta Blues, recorded and performed by nearly everyone--Muddy Waters - Rolling Stone, for example. Petway just happens to be the first person to record Catfish, and quite possibly the person who wrote it and certainly. to my mind, at least, the person who nailed it... in the uptempo version at the very least. [more inside]
posted by y2karl
on Feb 28, 2008 -
8 comments

Folkstreams.net has two goals. One is to build a national preserve of hard-to-find documentary films about American folk or roots cultures. The other is to give them renewed life by streaming them on the internet. The films were produced by independent filmmakers in a golden age that began in the 1960s and was made possible by the development first of portable cameras and then capacity for synch sound. Their films focus on the culture, struggles, and arts of unnoticed Americans from many different regions and communities. The filmmakers were driven more by sheer engagement with the people and their traditions than by commercial hopes. Their films have unusual subjects, odd lengths, and talkers who do not speak "broadcast English." Although they won prizes at film festivals, were used in college classes, and occasionally were shown on PBS, they found few outlets in venues like theaters, video shops or commercial television. But they have permanent value...

My Back Pages--Interesting in his own right Eyolf Østrem still maintains the fan's fan tab, chords and music site, the standard by which all others are judged. I just revisited it the other night, while trying to recall how that little run in Dylan's version of Delia went, and dang, if it didn't have the back story of that ballad. I love this kind of stuff. The source of that account, John Garst, is the folklorist king of such research--he puts John Henry at a railroad tunnel near Leeds, Alabama, just east of Birmingham on September 20, 1887, for example. Murder and heroic death ballad back stories are of extreme interest to me, so I decided to post a few more here: Frankie and Albert, Frankie and Johnny, CaseyJones and StaggerLee. Did I say I love this kind of stuff?
posted by y2karl
on Sep 23, 2004 -
10 comments

FolkMusic. Stefan Wirz and Hideki Watanabe pay homage to their favorites. Check out Hideki's Muscle Shoals page for another slice of his Americana pie. Or click on a name--Eric Von Schmidt, say--on Stefan's completist, slow loading page and wallow in pictures and stories... Then there's the Richard & Mimi Fariña website. Jan Hoiberg's Band site is another. I love labors of love.

And note, newsfilterians, you can now order Mickey Jone's homemovies from the '66 tour, too. I'm going to see the Bobster tomorrow, so I've been thinking of these things.
posted by y2karl
on Oct 3, 2002 -
18 comments

The Minstrel ShowThe Minstrel Show presents us with a strange, fascinating and awful phenomenon. Minstrel shows emerged from preindustrial European traditions of masking and carnival. But in the US they began in the 1830s, with working class white men dressing up as plantation slaves. These men imitated black musical and dance forms, combining savage parody of black Americans with genuine fondness for African American cultural forms. By the Civil War the minstrel show had become world famous and respectable. Late in his life Mark Twain fondly remembered the "old time nigger show" with its colorful comic darkies and its rousing songs and dances. By the 1840s, the minstrel show had become one of the central events in the culture of the Democratic party..
The image of white men in blackface, miming black song, dance and speech is considered the last word in racist bigotry for some. And yet, standing at the crossroads of race, class and high and low culture, blackface minstrelsy is one fascinating topic in academic circles. It’s history is intertwined with the rise of abolitionism, the works of Mark Twain and the histories of vaudeville, American vernacular music, radio, television, movies, in fact all of what is called popular culture. Details within.
posted by y2karl
on Mar 13, 2002 -
26 comments

Amazing collection of information on Folklife in Florida between 1937-1942. Audio files are stunning. They were originally recorded (with a portable acetate cutter!) by Zora Neal Hurston and Stetson Kennedy, working for the WPA. Does anyone else have other favorite Library of Congress sites?
first heard about on npr last week.
posted by anathema
on Mar 7, 2002 -
12 comments

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